• Big Background Vocals: How to Build Massive Vocal Stacks



    Background vocals are supposed to sound huge, not like a group text gone wrong.

    In this episode of Inside the Recording Studio, Chris and Jody tackle the surprisingly tricky world of big background vocals, from towering vocal stacks to rowdy gang vocals that sound like they might knock something over. If you’ve ever added “just one more harmony” and suddenly lost all clarity, this one’s for you.

    They start by answering a deceptively simple question: what kind of background vocals does your song actually need?Not every track wants a stadium-sized choir, and not every chorus survives being buried under twelve takes. Chris and Jody break down how background vocals function across genres and why restraint can sometimes hit harder than excess.

    The discussion quickly turns to producer tendencies, some obsess over timing, some over pitch, and some spiral into fixing both until the emotion disappears. Chris points out how chasing perfection can kill the very thing background vocals are meant to add: energy. Jody shares how he keeps large vocal stacks feeling exciting without letting them turn into a technical nightmare.

    You’ll also hear practical advice on treating massive vocal stacks once they’re recorded. When do you keep them tight and centered? When do you spread them wide? The mono-versus-stereo debate comes into play, with clear examples of how each choice affects impact and clarity. They also dig into effects that make background vocals feel alive, while warning against overdoing it and ending up with a cloudy mix.

    One of the highlights is their breakdown of common background vocal mistakes. Over-stacking without a plan, ignoring blend, and slapping effects on everything can turn a “wall of sound” into, as they put it, “mud on toast.” The fixes are simpler than you think, especially if you’re working in a home studio environment.

    Along the way, they shout out legendary producers and bands known for their background vocal work, using those references to explain what makes big vocals last beyond trends. The focus stays practical and usable, no theory rabbit holes, no gear worship, just techniques that translate directly into better mixes.

    Whether you’re layering harmonies in a bedroom studio or tracking a full gang vocal, this episode gives you recording setup tips and mix strategies that actually work in the real world.

    Stick around for Friday Finds, the Gold Star word, and the usual nonsense, and then go stack some vocals with confidence.

    Subscribe so you don’t miss next week’s studio deep dive.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

  • Recording Setup Tips: Picking the Best Sample Rates



    Sample rates: the numbers everyone argues about, few people fully understand, and almost everyone has accidentally overused at least once. In this episode of Inside the Recording Studio, Chris and Jody pull the curtain back on digital audio’s favorite bragging rights metric and ask a simple question, why are we even doing this?

    They start at the beginning, breaking down what a sample rate really is without turning it into a math lecture. From there, they explain why 44.1kHz and 48kHz became the standards they are today, and why jumping straight to higher rates isn’t the flex some people think it is. If you’ve ever felt tempted to crank your session up “just in case,” this episode might save your CPU, and your patience.

    Jody digs into the practical side effects of higher sample rates: bigger files, heavier processing demands, and fewer plugins running before your system taps out. Chris adds a perfectly on-brand story about someone recording at 192kHz purely to look impressive. The result? A stressed-out system, bloated storage, and absolutely no audible win. Cool story, though.

    For anyone running home studio gear, this conversation cuts straight to what matters. Chris and Jody explain why upsampling won’t fix bad recordings, why converting sample rates mid-session is asking for trouble, and how to choose a rate that fits your actual delivery needs. These recording setup tips aren’t theoretical, they’re the kind of advice you wish you’d heard before opening that first template.

    They also touch on how sample rate choices ripple through your workflow, from plugin performance to session compatibility. Whether you’re collaborating with others or bouncing between music and video projects, knowing when to stick with a standard rate can keep everything moving smoothly.

    As usual, there’s no gear-snobbery here. Chris and Jody aren’t interested in telling you what’s “pro”, they’re interested in what works. The goal isn’t bigger numbers. It’s clean audio, stable sessions, and decisions you don’t have to second-guess later.

    Stick around for the Gold Star word, check out this week’s Friday Finds, and walk away knowing exactly why your next session doesn’t need to run at the highest sample rate your interface allows. Subscribe for next week’s studio sanity check.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

  • Direct Input Guitar Recording: Clean Tone, More Control



    Direct Input guitar recording has a reputation problem. For years, it’s been treated as a backup plan, a safety net, or something you only do when a mic isn’t available. In this episode of Inside the Recording Studio, Chris and Jody flip that thinking on its head and show why DI guitar recording deserves a permanent place in your recording setup.

    The conversation starts with the basics, what it actually means to record guitar using Direct Input and quickly moves into the practical details that matter in a real home studio. Whether you’re plugging an electric guitar straight into your interface or tracking an acoustic guitar with built-in pickups, DI recording offers a clean, flexible signal that can save sessions and unlock creative options later in the mix.

    Chris and Jody break down the home studio gear involved, from classic DI boxes to modern interface inputs, and how each choice affects your signal chain. They walk through common recording setup tips that help avoid noise, weak tone, or lifeless tracks, keeping the discussion technical without getting lost in jargon. This isn’t theory, it’s the kind of advice you can use the next time you hit record.

    One of the highlights of the episode is the discussion around reamping. Jody shares why having a clean DI track can feel like a creative insurance policy, letting you revisit tone decisions after the performance is captured. Chris adds a real-world anecdote about how DI tracks have rescued sessions that otherwise would’ve required full re-takes. It’s one of those moments where experience speaks louder than gear lists.

    They also tackle the pros and cons head-on. DI guitar recording can sound sterile if you don’t know what you’re doing, but when used intentionally, it can be powerful, punchy, and mix-ready. The duo explores creative uses that even seasoned engineers sometimes overlook, reminding listeners that DI isn’t just about convenience, it’s about control.

    As always, the episode isn’t all knobs and cables. Expect a few laughs, some classic studio nonsense, and the familiar rhythm of Inside the Recording Studio, including Friday Finds and the ever-elusive Gold Star word. The balance between education and entertainment keeps things moving, even when the topic gets technical.

    The episode also gives a nod to tools and people that have shaped the DI conversation over the years, including StudioDevil, Redwirez, CJ Vanston, and Paul Jackson Jr., names that underline how widely DI techniques are used across professional workflows.

    If you’ve ever struggled to capture a guitar tone that stays flexible through mixing or wondered if DI recording is “cheating”, this episode clears the air. Tune in, DI in, and let Chris and Jody guide you through a smarter, more adaptable way to record guitar.

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    Gear we used:
    Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
    Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
    Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E

    Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.

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    If you want to collaborate, sponsor a podcast, donate, or want us to review your product – contact us at: collaborate@insidetherecordingstudio.com

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